Sentences with phrase «as cinematographer did»

If anything, he's a classic example of the studio director who knew how to set up a scene (look at the mise - en - scene and deep focus in The Little Foxes, for example — of course, having Gregg Toland as cinematographer didn't hurt) and then get out of the way of his actors.

Their journey will unfold in groundbreaking 3D that James Cameron, Guillermo del Toro, and David Fincher were all consulted on; having the incredible Emmanuel Lubezki (The Tree of Life) back as cinematographer doesn't hurt, either.

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As with «Inglourious Basterds» and «Kill Bill,» cinematographer Robert Richardson's loud color schemes and retro camerawork nicely compliment the cartoon logic, as does the vivid soundtracAs with «Inglourious Basterds» and «Kill Bill,» cinematographer Robert Richardson's loud color schemes and retro camerawork nicely compliment the cartoon logic, as does the vivid soundtracas does the vivid soundtrack.

What makes Under the Skin such a mind - blower has everything to do with Johansson's chillingly unempathetic turn as the, well, whatever she is, coupled with cinematographer Daniel Landin's disorienting, hallucinogenic visuals.

The film doesn't spend much time showing her stay at the hospital, lasting only as long as the opening credits, but cinematographer Sean Price Williams (The Color Wheel, Somebody Up There Likes Me) makes the most of it.

Filmmaker Robert Rodriguez again wears several hats (including writer, director, cinematographer and production designer), but they don't seem to fit quite as well this time.

Oscar - winning «Titanic» cinematographer Russell Carpenter received a lifetime achievement award, as did Alan Caso, who used his acceptance speech to talk about recognizing his own hypocrisy.

One does wonder why Lee would want to leave Manchester, a picturesque quaint New England town, as its beautifully shot land and seascapes by cinematographer Jody Lee Lipes (Trainwreck, 2015) give the impression of paradise.

Right off, one should say that Lucien Ballard is one fine cinematographer, even though he didn't get a chance to point his camera at anything very interesting in Breakheart Pass, a suspense ripoff dressed up as a quasi-Western.

Shot by Academy Award - winning cinematographer Robert Elswit, who has worked with Anderson ever since Hard Eight, scored by singer - songwriter Michael Penn, edited by the great Dylan Tichenor, who started as an apprentice on Robert Altman's movies and went on to do great films such as Magnolia, There Will Be Blood, Brokeback Mountain and The Assassination of Jesse James by the Coward Robert Ford, Paul Thomas Anderson's epic drama went on to garner three Academy Award nominations, did reasonably well at the box office by tripling its initial investment and, more importantly, showcased the surprising talent and determination of one of the few brilliant filmmakers of American contemporary cinema.

To distinguish the character - defining songs (always of inner turmoil) from the more matter - of - fact and plot - driving singing - as - dialogue, Hooper and cinematographer Danny Cohen shoot the characters» solos in long close - ups (most done in a one - take or with only a short cutaway in the middle or a complete break just at the final word)-- every tiny movement magnified and expanded on the screen.

Cinematographer Juan Ruiz Anchía, by the way, will later do his best work with Scott on Scott's third film as director, Off the Map.

A «David Fincher Film» does not feature David Fincher as the director, writer, producer, cinematographer, gaffer, production designer, costume designer, visual effects artist, etc. (though, to be honest, he could probably do those jobs incredibly well).

As cinematographer Roger Deakins said of the movie, «I don't think it has one style.»

Still, as stated, Del Toro and cinematographer Dan Laustsen do wonders with their sets.

plotting to be any fun as camp, and too ponderous to be watchable as a purely bad movie, Diablo doesn't offer much beyond a reminder of other, better films and some choice Alberta scenery framed by a cinematographer who shot John Carpenter and Robert Zemeckis» best work, but is now doing this.

Dickerson also acted as cinematographer on multiple episodes of Tales from the Darkside and Spike Lee's immortal (and beautiful) Do the Right Thing.

This has nothing to do with Crudo's discipline — fellow cinematographer John Bailey came prepared as a historian and film buff and delivered a super commentary track for Sunrise — but Fox erred in not trimming Crudo's sterile comments down to its essentials, and inter-cutting info from other, if not more broad - minded film historians.

It doesn't feel as if Greengrass has staged the events, but that his camera (in the expert hands of cinematographer Ivan Strasburg) happened to be there when the tragedy occurred, a witness to the British officers» planning, to the marchers» anger and panic, to the soldiers» gung - ho macho and to the cover - up that followed.

Nor did she ask Anderson about working as an uncredited cinematographer for the first time in his career.

Stars: Felicity Jones, Diego Luna, Ben Mendelsohn, Riz Ahmed, Donnie Yen, Mads Mikkelsen, Alan Tudyk, Jiang Wen, Forest Whitaker, Jonathan Aris, Genevieve O'Reilly, Jimmy Smits, Alistar Petrie and James Earl Jones as the voice of Darth Vader Director: Gareth Edwards Scriptwriters: Chris Weitz and Tony Gilroy from a story by John Knoll and Gary Whitta, based on characters by George Lucas Composer: Michael Giacchino Cinematographer: Greig Fraser Lucasfilm, Ltd / Walt Disney Studio Rating: PG 13 for battle scenes Running Length: 140 minutes It can be done.

Indulgent, sweet, and staged with all the visual panache of a sitcom (albeit a sitcom shot on 35 mm by Martha Marcy May Marlene cinematographer Jody Lee Lipes), the film doesn't find the Knocked Up director stepping forward or sideways so much as rocking a new wardrobe and standing in place.

Gloomy, washed - out lighting and collages of carnage (cinematographer Greig Fraser impressively juxtaposes frenzied camerawork with slow motion) sustain the dour vibe as does the richly dark soundtrack.

It all comes off slightly soapy, and because of the director's perfectionism (he and virtuoso cinematographer Gregg Toland would often do 20 takes or more of any given scene), the film feels fussed - over in a way that other Wyler productions such as the devastating drama The Heiress do not.

Ultimately though, Project X (despite a few bellylaughs) isn't nearly as funny or engaging as it needs to be, and though Nourizadeh and his Cinematographer Ken Seng do have a keen eye for detail, they will probably go on to display it more fully in better films than this.

Kay's curve of elegance goes the opposite direction as Ward's — he starts out in fancy clothes and becomes more raggedy as the film progresses — and cinematographer John Bailey objectifies Gere in ways Marshall's camera wouldn't dare do to Roberts (just try to find another Hollywood movie so in horny lust for its male actor's physicality).

As a result, in the few moments when Schrader and cinematographer Alexander Dynan do move the camera, the technique has a forceful impact.

High stakes duly established, Villeneuve, production designer Dennis Gassner and genius cinematographer Roger Deakins (if he doesn't finally win an Oscar for this, the film industry is truly blind) take full advantage of the mega-budget that franchise filmmaking provides to craft some of the most striking visuals ever put on film, building on Scott's ruined future in ways that — ironically given the themes of the movie — feel absolutely real and lived in, even as that world is occasionally revealed to be less than authentic.

«The superb cast shine, as does the unique location — it's great to see a drama set outside the USA, and the art department and cinematographer really make the most of the sun - scorched town and its dilapidated 19th century buildings,» we wrote in our review of Season 1.

Guns, horses, and pot play significant roles throughout, as does the stunning South Dakota landscape as photographed by cinematographer Joshua James Richards.

Like Mirth, this is a rich looking film and as all great cinematographers do, makes the rich costumes, locations, set and production design all that richer - looking.

Mudbound (Netflix) A quartet of nominations speak to a wide array of talent in this post-WWII period drama: Director Dee Rees and Virgil Williams adapted the sprawling, racially charged novel's many narrative points of view into a manageable shape; Rachel Morrison brought a pastoral grandeur as the film's cinematographer; and Mary J. Blige does double duty, contributing a moving performance as well as the original song, «Mighty River,» with Raphael Saadiq and Taura Stinson.

Cinematographer Bradford Young lends the movie a dark and distinctive look, although his compositions feel hemmed in by the series» overall stylistic parameters, and Pietro Scalia's editing gives the action sequences a pleasing snap that makes you wish the combination of Howard's Rush and Apollo 13 played as well on screen as it does on paper.»

But here, again, Arrival doesn't seem likely to get much love.The safest bet, as so often this year, is probably on La La Land and its cinematographer Linus Sandgren.

More importantly, Slaboshpitsky and cinematographer Valentyn Vasyanovych employ lengthy one - takes — tracking and still shots that follow characters as we figure out what they're doing and capturing the entirety of a conversation in which we're forced to discern some meaning.

Of course, all the technical stuff doesn't matter if the film is shot and edited poorly, so it's only fair to mention that cinematographer Andrew Lesnie does some pretty brilliant work here — as does Film Editor Jabez Olssen.

Cinematographers Hoyte Van Hoytema (Her, Interstellar) and Roman Vasyanov (Fury, Suicide Squad) got invitations, as did ParaNorman and Fantastic Mr. Fox cinematographer Tristan Oliver.

Additional celebrities at SIFF this year included Academy Award - winning director Morgan Neville with his documentary The Music of Strangers: Yo - Yo Ma and the Silk Road Ensemble; award - winning writer and director James Schamus of Indignation; award - winning cinematographer Kirsten Johnson with her directorial debut Cameraperson; acclaimed actor Clea DuVall with her directorial debut The Intervention; directors Miles B. Miller and Joshua H. Miller, producer Kathryn Tucker, and actor Paul Sparks of All the Birds Have Flown South; actor Craig Robinson in Morris From America; director Jonathan Parker, producers Catherine di Napoli and Deborah Parker, and actor Eric McCormack with The Architect; Mike Birbiglia, director of Don't Think Twice; YouTube sensation and documentary subject of Presenting Princess Shaw Samantha Montgomery, who performed at the Opening Night Gala; Irish drag queen and marriage equality advocate Panti Bliss, subject of the documentary The Queen of Ireland, as well as director Conor Horgan; director Martin Spirit and subject Spencer Haywood of Full Court: The Spencer Haywood Story; irector Ned Crowley and actor Jim O'Heir of Middle Man; director James Redford with his new documentary Resilience; Pearl Jam founding member and Gleason composer Mike McCready; actor Laura Carmichael and director Chanya Button with the US premiere of Burn Burn Burn; director Iwai Shunji of A Bride for Rip Van Winkle; Joshua Marston, director of Complete Unknown; actor Corentin Fila of Being 17; Andreas Öhman, director of Eternal Summer; Ti West, director of In A Valley of Violence; director Roger Ross Williams and subject Ron Suskind of Life, Animated; director Nathan Adloff, actor Tim Boardman and producers Stephen Israel and Ash Christian of Miles; director Linas Phillips and producer Ian Bugno of Rainbow Time; Richard Tanne, director of Southside With You; Jocelyn Moorhouse, director of The Dressmaker; Brent Hodge, director of The Pistol Shrimps.

«Don't Breathe» paints this ghost town with a bigger budget, and cinematographer Pedro Luque observes its wreckage with graceful camerawork, as in a long, uninterrupted shot that leads us on an elegant tour of the blind man's neglected Victorian home.

Digital projection, however, does not do justice to the mix of shadows, mist, and blazing primary colors that Scorsese and cinematographer Michael Chapman created on 35 mm as a reflection of Travis's twisted psyche and a New York that was down, but certainly not out

Reunited with cinematographer / filmmaker Andrew Droz Palermo (Rich Hill), this Austin shot drama has benefitted from the extra time in post-production as it was shot in March of this year and we're sure glad she didn't waste much time between projects.

Stony Island is no great shakes, though it does afford a chance to see late»70s, mercury - vapor - lit Chicago as filmed by Tak Fujimoto, a perennially under - appreciated cinematographer best known for his work with Jonathan Demme and M. Night Shyamalan.

Babette Mangolte, well known as a filmmaker and as the cinematographer on a number of key films by Yvonne Rainer and Chantal Akerman (including Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles), was included in the Whitney exhibition The American Century; her Biennial contribution is a mixed media installation involving photography and a video that recreates an earlier installation from 1978.